Sunday, 26 July 2015

360 FLEA MARKET LADY by DUANE HANSON (1925-96)

Flea Market Lady, bronze, polychromed in oil, mixed media. accessories, Photo Florian Kleinefenn, Image courtesy of Galerie Perrotin
 I push open the doors of the Serpentine Sackler Gallery and there in the atrium is a lady surrounded by art books and artefacts. For a brief moment I expect her to glance up at me from beneath the brim of her sun hat.
 
Man With Handcart, polyester resin, fibreglass, polychromed in oil, mixed media, accessories, photo Rod McKeever
There are five people in the gallery above. You can tell who they are because they are  'viewing'. Two are examining Man with a Handcart. Further back the Old Couple on a Bench  are being silently interrogated. 'Watching museum goers interacting with Hanson's art is just as much a part of experiencing his work as admiring it on its own'. From a distance it is easy. The figures are legible in terms of surface descriptions: I am a cleaner, I am an art lover, I am a handyman. But close up, each face and body is as specific as a weather worn landscape. Cast from live models, meticulous details are included such as body hairs, veins and bruises.
Old Couple on a Bench, Bronze, polychromed in oil, mixed media, accessories
Queenie II, Polychromed bronze, with accessories


Hanson's realism helps us see and empathise with fatigue, resignation and loneliness. Face to face contact with the sculptures makes us bold. We stare with no risk that Queenie II or the fatigued, forlorn man with the hand cart will "return our impolite gaze". They are not heroic figures, they aren’t special, they are equal to you and me, yet encountering them can be full of interest, wonder and surprise. In a fascinating article by Douglas Coupland in the catalogue, he muses on "selfieness" and art which, like Hanson's, is intimate, curious and democratic.



In the turmoil of everyday life, we too seldom become aware of one another. In the quiet moments in which you observe my work, maybe you will recognise the universality of all people. DUANE HANSON

I wonder what is the ambition of the millions walking around London at this moment waving their photo-sticks in the air?


www.serpentinegalleries.org/exhibitions-events/duane-hanson
www.serpentinegalleries.org/
www.saatchigallery.com/artists/duane_hanson.htm
www.theguardian.com/artanddesign/2015/may/26/duane-hanson-hyperreal-sculptures-selfie-generation-dou...

In addition the catalogue Duane Hanson published by the galleries at £18 is fully illustrated and carries two arresting articles:  Surface Identity by Ruba Katrid and Duane Hanson: Realness, not Realism by Douglas Coupland



Saturday, 25 July 2015

359 SERPENTINE PAVILION by SELGASCANO


2015 SERPENTINE PAVILION, HYDE PARK until October 18

2015 Serpentine pavilion at night (c) Iwan Baan      
Every summer since 2000 a much anticipated landmark appears in Hyde Park. The annual Pavilion is said to be 'one of the top ten most visited annual architectural and design exhibitions in the world'. This beautiful 'happening' is a double-skinned polygonal structure consisting of panels of many coloured polymer (ETFE) woven through and wrapped like webbing. This year the extraordinary chrysalis-like structure is as organic as the surrounding gardens. It connects with nature and becomes part of the landscape.



The first impression is of a joyous playfulness and bold use of colour. I heard a mother asked her small son what colour he would like to be. 'Blue' he said, perhaps a little predictably. 'Quick, come here' - and he was transformed. You can go in and out along any number of different paths. One of the inspirations was the way in which people move through London Underground with its many-layered yet structured flow. 

At its heart is an open space for gathering, as well as a cafe. 

2015 Serpentine Pavilion interior (c) Jim Stephenson

Gradually I became aware of the mystery of the Pavilion's weightlessness and solidity. How is it possible? Well, some of the publicity suggests that here a visitor can experience architecture in new ways through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials. I think this is not an exaggeration.



www.serpentinegalleries.org/exhibitions-events/serpentine-pavilion-2015

www.serpentinegalleries.org/explore













Wednesday, 8 July 2015

358 THE OLD HOUSE DREAMS IT IS STILL THERE by PETER MESSER


The Old House Dreams It Is Still There, 42 x 30cm

ROYAL ACADEMY OF ART Summer Show 2015
Perhaps the magic of this painting is that it suggests a story, yet it is the opposite of a story. Words in a book move patiently in line and come to an end. You close the book. Here you can look as and when and where you like. Silence, mystery and space. Nothing is straight forward.

You cross the road which runs along  the bottom of the painting and find a narrow lane winding up and away out of sight. It's lined with cottages which look onto greenery, a copse and a field.  It could be anywhere. On the right is a small boy in blue, standing in the shade, safely on the pavement. Why is he so still?

But centre right is the ghost house.The  door faces us, a door that's closed. The house  is dreaming of the past that is still present, still dominating that corner, grander than the cottages perhaps, weighed down with bricks and mortar. Perhaps it's listening to  the chatter inside.

This witty and gracious picture is tickling our dreams about houses we have known. Memories ease themselves into our consciousness. A street corner in Hammersmith with mown grass, a park seat and a small electricity sub station, was once a three storey end-of-terrace house. Now the spot lives on in the memories of old men who think back affectionately to the years they enjoyed the bomb-site-cum-play-ground. We once moved into a house on a corner which won architectural awards in the 70s. It was demolished last year:it was so shoddily built it was unsafe. It has now shrunk to a life on shelves of architects' plans and blueprints, press cuttings about the Award, sheaves of litigation, and the sounds of the families and neighbours who once moved and lived and had their being there.

In researching this painting I came across the blog listed immediately below. It has small images of six paintings. Four are by current Royal Academicians and one of the others is  The Old House Dreams It Is Still There. The blog shows the price of each at the time of writing. It makes an interesting comparison.


charactersfromthekitchen.wordpress.com/tag/peter-messer/ 

 www.facebook.com/pages/Peter-Messer-Paintings/424690630977280
se.royalacademy.org.uk/artwork/Peter-Messer/893  
www.royalacademy.org.uk/exhibition/summer-exhibition-2015

Wednesday, 1 July 2015

357 ZOBOP by JIM LAMBIE

 ROYAL ACADEMY SUMMER EXHIBITION 2015

The Duchess of Cornwall ascends to the Royal Academy Annual Dinner via Jim Lambie's central staircase,
Photo: Thomas Alexander/Royal Academy/PA 
 I first saw Jim Lambie's work in a London gallery about 15 years ago, and knew this was an occasion I would never forget. Now at the Summer Exhibition the Scottish artist again engages the viewer at an emotional, intuitive level.  He uses familiar materials sourced locally, in this case brightly coloured  vinyl strips  laid down as tape)  to transform the magnificent and at times intimidating main staircase of London's Royal Academy of Art.

The  different colours push and pull against each other. Steps appear to  advance and recede before our very eyes. Rev Dr  Richard Davey wrote in his introductory essay in the Exhibition catalogue A Masterclass in Looking:  ‘the colours  appear to ripple and breathe from side to side. pushing at the walls and balustrades like waves breaking on a shore'.

“While you are walking, the art underfoot is both a dance floor and the music itself “.
Adrian Searle, Guardian 2003

So you enter the main building of the Royal Academy and are faced with treading on this insubstantial shifting world of colour.  We may be used to stepping on tessellated floors in churches and mosques, but nothing prepares us for this. The zigzagged,  edged rings of concentric colours lead us step by step into the exhibition.When we get to the top we discover that Michael Craig-Martin, who co-ordinated the show, has also transformed parts of the building: we are surrounded by walls painted an intense buttercup yellow. Beyond that, art in the octagonal Wohl Central Hall hangs on a vivid turquoise background,  the Lecture Room is a spacious airy light blue, and Gallery III 'has been brought to life with  an electric magenta that animates without overwhelming the paintings hung on the wall' ( Richard Davey)

 'Sometimes when you dig for meaning you end up in a hole. 
The answer, I suspect, is to simply relax about it all Adrian Searle, Guardian 2003

www.royalacademy.org.uk/exhibition/summer-exhibition-2015
generationartscotland.org/artists/jim-lambie/

www.facebook.com/royalacademy/videos/10153219384077415/      for sense of shifting movment
www.michaelcraigmartin.co.uk/
www.youtube.com/watch?v=Pbiu7U_UN6s        for more about Richard Davey
www.theguardian.com/profile/adriansearle

Monday, 29 June 2015

356 NIGHT WAVES by KENNETH DRAPER

ROYAL ACADEMY OF ART SUMMER SHOW

 Night Waves, mixed media, 85 x 40 46cm
"My work always creates a dialogue between sculpture, painting and drawing. The explosions in my new work ...respond to the piercing beauty and ravaged landscapes of my home in Menorca". Kenneth Draper

What is the best use for photography? 
Photographing other pictures says David Hockney  in The Artist's Eye: looking at pictures in a book. It is the only time it can be true to its medium, because, like the photographs that result, paintings are flat two-dimensional objects. People and landscapes and nearly everything else in the universe, are uncompromisingly three dimensional, full of knobbles and curves and inlets and complexity.

Nowhere is this more true than in trying to use a photograph to capture the beauty and strength and freshness of sculpture. Sculpture demands not just a visual but a physical engagement, only coming to life when you walk round it. You cannot see it all at once. It's like chasing shadows.

Night  Waves is displayed on a white plinth, roughly at table height.At first I took time to linger on the complexity and beauty of the base; then the dancing curls and whirling curves, captured and poised as lightly and briefly as birds or waves. At the top is magical space. The artist talks of 'frayed edges' in his works. Here they fizz and vibrate as if solid metal melts into the surrounding air.
 
Wohl Central Hall. Royal Academy of Art

To feature this work - and a few others - I have broken my rule of never writing about art which is only accessible by paying to see it. This summer's Royal Academy of Art Summer Exhibition, a selection co ordinated by Michael Craig Martin, is the best I've seen,  It starts in the courtyard where visitors are confronted by a towering formation of steel ‘clouds’, created out of 8,000 tetrahedrons by Conrad Shawcross, before climbing Jim Lambie’s kaleidoscopic stairs leading up to the Main Galleries. which I'll feature in my next blog.

www.kennethdraper.com/current_exhib_text.html
www.royalacademy.org.uk/exhibition/summer-exhibition-2015
www.michaelcraigmartin.co.uk/
www.hockneypictures.com/
conradshawcross.com/
www.tate.org.uk/art/artworks/lambie-zobop-t12236

Wednesday, 24 June 2015

355 MAGNA CARTA EMBROIDERY (Wikipedia version) by CORNELIA PARKER

BRITISH LIBRARY




Question: What is this man doing?

Answer: Stitching a section of an embroidery 13 metres long and 1.5 metres wide which  replicates the Magna Carta's Wikipedia article as it appeared a year ago  on the charter's 799th anniversary.


2015 is the 800th anniversary of Magna Carta, a treaty setting out joint rule between Bad King John and  the Turbulent Barons - or so the story goes. One version of events is that the King outfoxed the barons by reneging on his promises. But the story never ends. There was a report yesterday that a letter found in Lambeth Palace Archives shows 'the truly revolutionary nature of what happened in 1215' and that the king did not take sole charge of the new peace - the first glimmer of shared power showed through..
Cornelia Parker with a section of the tapestry (photo) Tony Antoniou

The British Library chose  the brilliant  Cornelia Parker to celebrate the event. She has the ability to transform some of the most ordinary objects into something compelling and extraordinary (for example a garden shed in Cold Dark Matter: an exploded view at the Tate). Sometimes she contains things beyond our control and makes them into that which is quiet and contemplative. In this case she turns a unique, revolutionary charter into somethng as commonplace as a piece of embroidery.

 Over 200 people helped to create this piece. They included over 40 prisoners supervised by Fine Cell Work, a social enterprise group which trains prisoners in paid, skilled creative needlework;  members of the Embroiderers' Guild who tackled the the detailed pictures, emblems and logos; civil rights campaigners, MPs, celebrities, the Royal School of Needlework, Hand and Lock - and some present day barons.

Jarvis Cocker who stitched the words "Common People" (photo) Joseph Turp
The artists says "These very different people each have their own opinions about democracy today and I thought carefully about the words they should stitch. For instance Baroness Warsi, Eliza Manningham-Buller, Julian Assange and numerous prisoners have stitched the word 'freedom' but each has their different relationship to it". Jarvis Cocker, above, stitched "Common People".

www.bbc.co.uk/programmes/b00ptsjd       (Jarvis Cocker)

All these people have their own opinions about democracy today and I thought carefully about the words they should stitch. For instance, Baroness Warsi, Eliza Manningham-Buller, Julian Assange and numerous prisoners have all stitched the word ‘freedom’, but all have different relationships to it.”
The bulk of the text of the Wikipedia page has been embroidered in various prisons by inmates under the supervision of Fine Cell Work, a social enterprise that trains prisoners in paid, skilled, creative needlework. The detailed pictures, emblems and logos that punctuate the text have been fashioned by highly accomplished members of the Embroiderers' Guild, a national charity that promotes and encourages the art of embroidery and related crafts, alongside embroiderers from the Royal School of Needlework and the leading embroidery company Hand & Lock.
“I love the idea of taking something digital and making it into an analogue, hand-crafted thing”, says Cornelia.
- See more at: http://www.bl.uk/press-releases/2015/may/cornelia-parker-unveils-13-metre-long-magna-carta-embroidery#sthash.m9x78lrP.dpuf
All these people have their own opinions about democracy today and I thought carefully about the words they should stitch. For instance, Baroness Warsi, Eliza Manningham-Buller, Julian Assange and numerous prisoners have all stitched the word ‘freedom’, but all have different relationships to it.”
The bulk of the text of the Wikipedia page has been embroidered in various prisons by inmates under the supervision of Fine Cell Work, a social enterprise that trains prisoners in paid, skilled, creative needlework. The detailed pictures, emblems and logos that punctuate the text have been fashioned by highly accomplished members of the Embroiderers' Guild, a national charity that promotes and encourages the art of embroidery and related crafts, alongside embroiderers from the Royal School of Needlework and the leading embroidery company Hand & Lock.
“I love the idea of taking something digital and making it into an analogue, hand-crafted thing”, says Cornelia.
- See more at: http://www.bl.uk/press-releases/2015/may/cornelia-parker-unveils-13-metre-long-magna-carta-embroidery#sthash.m9x78lrP.dpuf
355 MAGNA CARTA EMBROIDERY by CORNELIA PARKERCornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices. - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpuf
Cornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices. - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpufvcvncncm,n
Cornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices.’ - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpuf
Cornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices.’ - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpuf
Cornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices.’ - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpuf
Cornelia said, ‘I wanted the embroidery to raise questions about where we are now with the principles laid down in the Magna Carta, and about the challenges to all kinds of freedoms that we face in the digital age. Like a Wikipedia article, this embroidery is multi-authored and full of many different voices.’ - See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2015/05/magna-carta-an-embroidery.html#sthash.6Zrdqeif.dpuf